Robert Kelly

1 Robert Kelly MAY DAY Poems 2003-2005 Originally published by the Parsifal Press, Toronto 2007 Now made readable on line. 2 Copyright © 2007, 2009 by Robert Kelly Some of these poems were first printed elsewhere … for example in Capitalism Nature Socialism (Joel Kovel), Conjunctions (Bradford Morrow), Elixir (Zia Inayat Khan), First Intensity (Lee Chapman ), The Modern Review (Simone dos Anjos and Pietro Aman), Irish Poetry Review (Peter Sirr), The Bard Papers (Alexandra Dumont), New Politics (Marvin Mandell and Betty Reid Mandell) The 2007 Alhambra Poetry Calendar (Shafiq Naz). For help in the selection and ordering of some of these poems, I owe a debt to the tuneful ears and lucid reading of Simone dos Anjos, the founder of Parsifal Press, and first publisher of this collection. 3 Skies? We make those lights. Nature is our half-remembered dream. for Charlotte 4 CONTENTS Elegies for Osiris 6 Lovecraft 9 The Flies of October 10 Night Grammar 12 A Theory of Leaf Management 13 Rembrandt’s Raising of Lazarus, 1642 17 The Poor Land of Tyrol 18 The Politics of You 20 Twelfth Night 22 Identity 24 History Lesson 25 Some words I say come out all wrong 26 Early Dutch Breakfast Paintings 27 Tumult spirit 28 Young lionesses patrol 29 The Construction of Hell 30 You read me shallowly these days 31 An Elegy for Wolves 32 Brahms, String Quartet No.1 in c, Op.51 36 When boys were named Lester and girls were called Kate 37 Oblation 38 1878 Brown Street 39 We say he went to heaven 40 A Writing with John Clare 41 May Day 42 Science 44 The Daybed 45 The Value 46 Or 47 Open Theory 48 A Horse Is Not a Usual Menace 51 Your ideas get in your way 52 Aftermath at Arles 53 The Tear 54 The Slates of La Borne 55 Closets Sel Fin Amber Cordon Scales Line The Mortal Factor Wood 5 Parmenides: On budding Being 58 Imagine the other side of poetry 61 How Pindar Works 62 The day I stopped sounding like myself 64 Nine Bagatelles 65 The Fall of Constantinople 68 Campo dei Fiori 1600 69 Making Gold 70 Chateau 71 Suppose I took the colors from my face 72 In the Western Region 73 Nero Wolfe’s Last Case 74 Ancient Fountain 78 Let the conquistador of the moment 79 Something Your Mother Gave You 80 Your Dark Red Cape 81 Walking to Auschwitz 82 6 ELEGIES FOR OSIRIS I want the new thing the disclosure men among the trees crow feathers in their caps protecting order, the long legato of Vivica Genaux embracing a castrato aria from Artaxerxes Johann Adolf Hasse reborn every morning chanting at you dull as monks prioritizing rapture o such language darling you whose spokes are longer than the wheel so must spin in the air of agreement ―the sun is clear this morning, bene volente ― frictionless in almost fall. Beneath their Aqua Velva chins the channelers grunt and strain to pass a licit message ― where do words come from, Equivoque, where does the lighter get its flame, plastic Prometheus of so many pockets, you mean it’s ok to tell the truth ― only to your mother, and she is deaf. Dead? Words, where from, will you, disclose? A narrow place where everything is born, they call it so.ma, freshness, the gap between any notice and the next ― any moment you might be speaking Turkish― truth touches you in the night you roll over, truth caresses the pillow where later you’ll fall asleep and dream, messages everywhere. The thing that happens is the naked mind, blue sky after days of rain. 7 Central disorder rapture bound around her ankles strum the catgut she uses to connect the botryoidal mindset with her prancing feet ― ripe ripe and movely ripe, clusters of frost sweetened grapes chastened to the ice-wine of November rivers, I am yours. You wait there storming at the Sea Gate enraged at me but still sharing my pizza, one wedge for two appetites. But the air’s dry now, my sparrow, and pale delight is back the haunted shade inside your clothes the pale shadow that is your skin now tell me what divine opacity casts that shade and from what light Now summon from the yew trees to appear medium demons of high magic, Saltarellus, Sequoius, Quousquinus, they know their jobs, they can have you on your back in no time interviewing the immortal stars to make them answer. They hardly know what they’re saying, and you’re no better, you live for these moments of pure jive when every word is shining ruby tail light in rain. Circle me with light, there you are, young glory, one foot past the other like a goat going over a rope bridge, be like the bird but don’t fly, be like the moon but don’t fall as she my sister does night after night excruciating slow. 8 In all those pages find me one new thing, anything, name of an angel, lips of a woman you (not I) kissed in dream ― a kiss is strange, a wordless speaking in the other’s mouth, and the sun writes only shadows on the ground, tell me, lover, one new thing, that’s all, fox in a thicket it could be, a hunter dead beside his rifle, a green feather in his hat band rolled from his head, and not far away you hear a waterfall. 9 LOVECRAFT To write the alien, the language of otherness, to link the morphemes of the imaginable unknown into the barely sayable. Did Lovecraft hear his eldritch incantations, or did he compose them by typography alone, what looks weird as a token of weird sound? The graphemes of weirdness, consonant combinations not found in English, in the safe Western Languages, they look scary, Etruscan, from the crepuscular phase of language, language before it was human. He used the eye sense to convey pictorially the weirdness and nausea of the words his characters overhear. He tries by over-writing to induce nausea in the reader - - more especially the readerly reader, the sage friend he yearned for all his life. His overwriting is meant to produce the same sort of vertiginous unease, disorientation, nausea, horror that his characters are experiencing. Death by prose. It is effective, disturbing ― not least because it is so easily ridiculed by those who don’t experience the horror ― just as fugitive accounts of meetings with extraterrestrials, angels, phantoms, ghosts are greeted with derision by those to whom unhappy voyants make their incoherent confession. 10 THE FLIES OF OCTOBER The flies of October have awkward wings, what happens to them, they change like the jaws of salmon leaping up the last time, the body changes on us, October, the buzz they make changes too, the angle of their wings controls the pitch the lazy bebop of dying time makes them frantic against the glass they collide, fall dodder on the windowsill, come back full force to find anything over on the tabletop lull juddering on the edge of a book the flies of October cannot read, even our hearts are closed to them just as ours are to one another, why do we hate them so much, a dozen of us lovers around the table who don’t know each other’s names watch the flies of October bother us 11 with all their dying, other people’s lives are such a pain to be part of, when they intrude on the hollow place inside us from which every feeling we thought we’d banished. 12 NIGHT GRAMMAR Grammar is the lost of it. I try. I try to beak the circle open make seed spill but the spoken never speaks. Long wide the avenue runs in rain cold past the Greyhound depot with not a hint of noun to warm my poor bone in This is about grammar, not history. This is about now. Language keeps spilling into now, a warm coat, slop I spilled on my lapel, my history strewn about my house, o god the names, the names of them, and grammar most of all because all the operations and relations it supervises are right now in this hard-hat hour, worksite where I-beams structure thee or me, there is no other. And how did you know that I was me anyhow when I wandered in off the street? Anybody could have come through that green door, grammar is like that, grammar is the sleep of actual things. If grammar is a dream, is silence waking? Is that what’s in store for us when the sun comes back on, just one more tomorrow full of other people? Come with me to my hour, and yes, I like your kisses but no, they are not comprehensive explanations. I need more. I need your gerund, you need my participle. No more similes. We have come to the heart of the sentence. 13 A THEORY OF LEAF MANAGEMENT Don’t have to call anybody today the Saturday leaves relax the lawn. Lawn is a human word a mere colonial attitude, who owns the green one wants a superior machine and a schoolboy learning a fountain pen a schoolgirl singing to her backpack one needs a lot of time and that’s all time is, a lot of it continuously going nowhere fast, there must be a machine that works better than a fountain pen it’s Saturday the schoolboy learns to kiss the schoolgirl by thinking before he gets out of bed about it one sleeps in a bed one walks upon a lawn, ownership is evident in all human affairs, the practice of the heart is hard practice, sophomores, one owns actually nothing and even one’s bones are only loans.

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